From the "alien" contest: A robotic transporter flying by. Playing suggestion: Hold any single note. Try playing staccato if USER3 is turned all down. Recommended controllers: Velocity, USER1, USER2, USER3.

A classic lead sound: A sawtooth wave is filtered with a 24dB/octave resonant lowpass filter. Nothing unusual - besides the fact that it is done completely with additive synthesis (even the "real" filter is switched off).

This set of 39 K5000 patches of mine is derived from orchestral instrument timbres.
To create these patches, I made use of the SHARC timbre database by Gregory Sandell and a special software written by me.
The purpose of these patch files is to provide a set of harmonic and formant spectrum "building material". They are not meant to be ready-to-use imitations of acoustic instruments.
Here is a complete list of the instrument names:

All 39 patches are based on a template patch which I made as neutral as possible, besides applying a slight reverb and a soft amplitude envelope. You can control the envelope speed by key velocity. The template patch has two sources, one for the 64 low harmonics, one for the 64 high harmonics. Only the harmonic levels, the formant filter levels and the key zone vary from instrument to instrument.
Note that I did not edit these values after calculating them. So, do not be surprised that harmonic and formant curves are cut off somewhere, and that outside the note range of the original instrument nothing is to be heard: I took only what is actually in the database. Occasionally, I had to throw bad data away. This explains some "holes" in the formant spectrum. Sometimes, you can hear "jumps" in timbre from note to note. This comes from my conversion algorithm, which is not yet perfect, in conjunction with the variations that are already in the SHARC data. I hope to improve that some day. Likewise, the loudness relations between different notes cannot be expected to reflect the true ones.
[disclaimer]Table of Vowel Formants